A renowned meeting ground of Buddhist Asia, Nalanda was also a prolific centre of artistic output imbued with remarkable 'sthetic vision and innovative skill. The books is the first major study of the Buddhist sculpture from the site in multiple media like stone, metal and stucco. It provides a succinct account of the development of plastic from basing on a solid foundation of iconographic and stylistic analysis. After tracing its Kusana-Gandhara and Gupta-Sarnath heritage as well as by touching upon its legacy on the art of Tibet in particular, the author has aptly characterized Nalanda as the seed-bed for later Buddhist art and iconography of a far wider region beyond the geographical boundary of eastern India.